L’Art du Crime, lancement le 6 avril : Planches de sang.

Having grown up surrounded by Hollywood I am not easily star struck. I do however love any opportunity to speak French which is why my hands began to sweat the moment I saw Jean Dujardin, the star of THE ARTIST. I was in Hollywood at the iconic Grauman’s Chinese theatre with fellow screenwriter and colleague, Shane Clark attending American Film Institute’s annual AFIFest and U.S. premiere of THE ARTIST.

Everyone insists on how important a pitch is. But as for myself, I think every writer needs four different and necessary pitches.
First is the install pitch, the initial appeal of a conflicting contrast, a fresh situation around someone in relation with three essential entities : us, his world, and a vital necessity.

In a movie, the revelation of the backstory can be mind blowing or a miserable burden in the telling : how much, when, what for, from whose point of view, at what progressing rythm (Chinatown) or unique intensity (Runaway Jury, Psycho) is the ultimate identity and vision of the writer.
To some extent, the mastery of backstory is the central crossroad of the craft, the right path to any story, and the most personal artistic signature of the writer.

Lonely process, sharing and collaborative minds…

One coffee, one script.
Each morning is a new day of passion. We are writers, lovers, hard workers. We search, create, imagine.
Heart and brain dedicated to make screenwriting not only a richer and deeper process but somehow a tool for discoveries.
The realm of stories is all secrets and mysteries, and we stand at the treshold...